| Does anyone else get a mass of illegal opcode messages plus "286 syntax
errors in orchestra. compilation invalid" with Hans Mikelsons' recently
posted instruments? I'm using the Mills PPC version.
Cheers
Arne
"The DOLPHIN, desiring to sleep, floats atop the water;having fallen
asleep,he sinks slowly to the floor of the sea;being awakened by striking
the bottom,he rises again to the surface. Having thus risen, he falls
asleep again,descends once more to the bottom, and revives himself anew in
the same fashion. He thus enjoys his rest in motion."
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Date: Fri, 2 May 1997 09:31:26 -0700 (PDT)
From: Mike Berry
To: Arne Hanna
Cc: csound@maths.ex.ac.uk
Subject: Re: Saw/Ramp Wave Transform and Oscillator Synch Instruments
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The instruments work fine for me. You might check if there were
some ";"'s that got lost. The 286 error message shows up when you try to
compile a comment.
Mike Berry
mikeb@mills.edu
http://www.mills.edu/PEOPLE/gr.pages/mikeb.public.html/mikeb.homepage.html
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From: Mehmet Okonsar
To: "csound@maths.exeter.ac.uk" ,
'Richard Wentk'
Subject: Www.dominet.com.tr/members/okonsar
Date: Fri, 2 May 1997 22:19:34 +-300
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Www.dominet.com.tr/members/okonsar
My homepage about electronic composition, fractals and piano playing
Visits and comments are welcome
Mehmet
----------
From: Richard Wentk[SMTP:leo@rwentk.demon.co.uk]
Sent: 01 May=FDs 1997 Per=FEembe 16:03
To: csound@maths.exeter.ac.uk
Subject: Re: gen routines
At 01:33 01/05/97 -0500, you wrote:
>the manual comments on the f1 as using gen1 to compute a sine wave. =
My
>question is this sine wave actually becomes part of the sound? and if =
this
>is the case, why is it NOT included in the *.orc file? I understood =
the
>*.sco file to be basically the notes to be played, not to further =
define the
>instrument.
The way this works is:
The score file creates a list of notes AND fills the tables used in the
instruments.
The instruments then refer to the tables when they start making a noise. =
In
the example the '1' on the end of the oscil statement means that the
oscillator is a making a sound using the waveshape stored in table 1.
The data in the tables can be changed at any time, which means you can =
use
the score to switch the sound that an oscillator plays whenever you =
like.
For example=20
f1 0 4096 10 1
f1 2 4096 10 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1=20
means that after two time units any instruments that use the data in =
table
one will start playing a horrible buzzy sound instead a pure sine.
I haven't tried it, but my guess is that you can't change the sound of =
an
instrument after it's started. The sound will only change if you
reinitialise the instrument - hence no funky wavesequencing effects, at
least not without major effort. Can someone confirm this?=20
Don't forget that tables can contain control data too. You could, for
example, swap between different sets of pitches when using a instrument
that picked and played a pitch from a set at random. So using this =
facility
you could set up different 'chords' (or whatever) at different times.
And finally - no, it doesn't particularly make sense having the table =
data
in the score file. In many ways it doesn't make sense having the data in
two files at all, but Csound uses an 'orchestral' idiom where notes and
instruments are completely separate entities.=20
I suppose the idea is that the tables are rather like Csound's =
equivalent
of 'put down that viola and pick up a cello at this point', which is why
the table info ended up in the score file. In short - table definitions =
and
notes happen at a certain time, instrument definitions apply to the =
whole
piece. The other reason is that when Csound was written, memory was not =
as
cheap and plentiful as it is today. So it made sense to have a mechanism
where a single table could be used for different things at different =
times.
But just as most players don't swap instruments half way through, the
ability to change the data in a table doesn't seem to get much use. =
Today,
most people seem to prefer creating a different table instead, because =
it
makes the code clearer. Still, the facility is there if you want it.=20
Hope that helps,=20
R.
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From: Mehmet Okonsar
To: "amr@farben.latrobe.edu.au" ,
"cecdiscuss@clyde.concordia.ca" ,
"csound@maths.exeter.ac.uk" ,
"eilara@spinoza.tav.ac.il.music.mcgill.ca" ,
"eirikli@notam.uio.no" ,
"ejl@netcom.com"
To: "ejrnl@uacsc2.albany.edu" ,
"ejurschi@sos.mhs.compuserve.com" ,
"Emfnet@aol.com" , "icma@umich.edu" ,
"max%mcgill.BITNET@cunyvm.cuny.edu" <@cunyvm.cuny.edu:max@mcgill.bitnet>,
"mooreaj@sun1.bham.ac.uk"
To: "mto-editor@boethius.music.ucsb.edu" ,
"musgg@luxor.latrobe.edu.au" ,
"music-research@comlab.oxford.ac.uk" ,
"notmus-l@ubvm.cc.buffalo.edu" ,
'Vittorio Vella' ,
"tre@shoko.CALARTS.EDU"
Subject: Www.dominet.com.tr/members/okonsar
Date: Fri, 2 May 1997 22:23:20 +-300
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My homepage about electronic composition, fractals and piano playing
Visits and comments are welcome
Mehmet
----------
From: Vittorio Vella[SMTP:taukay@mailbox.nauta.it]
Sent: 09 Nisan 1997 =C7ar=FEamba 14:53
To: csound@maths.exeter.ac.uk; tre@shoko.CALARTS.EDU; icma@umich.edu; =
max%mcgill.BITNET@cunyvm.cuny.edu; music-research@comlab.oxford.ac.uk; =
notmus-l@ubvm.cc.buffalo.edu; musgg@luxor.latrobe.edu.au; =
mooreaj@sun1.bham.ac.uk; mto-editor@boethius.music.ucsb.edu; =
amr@farben.latrobe.edu.au; cecdiscuss@clyde.concordia.ca; =
Emfnet@aol.com; eilara@spinoza.tav.ac.il.music.mcgill.ca; =
eirikli@notam.uio.no; ejl@netcom.com; ejrnl@uacsc2.albany.edu; =
ejurschi@sos.mhs.compuserve.com
Subject: TauKay Edizioni Musicali
Dear driend,
it's over a year since we created our site on internet and since
then many things have happened.
More and more people have joined this great system of =
communication
which eliminates distances and riduces publishing times.
Thanks to internet it is possible to contact and inform =
composers
from all over the world to carry out new initiatives.
Last year we were able to carry out our ambitious plan of the =
First
National Contemporary Music competition "Citt=E0 di Udine".
In the Jury there were expert journalist and Composers who chose
seven pieces among the over a hundred that were submitted.
The National Preview of the selected pieces was held during the
Review "Contemporanea 96", organized together with the "Assessorato alla
Cultura" of Udine.
The music recorded during those evenings was then produced on CD
(TauKay 103 - TauKay 104)
We're going to carry out the second edition of the competition =
end
to enlarge the catalogue including young Composers' new proposals, as =
well
as a new field regarding theatrical initiatives and their links with =
Music,
and also the study on new topics with the help of a selected essays.
Our web site is where creative energies can meet and where we =
can
know each other.
We look forward to nearing your ideas to continue together.
The Editor: Vittorio Vella
email: taikay@mailbox.nauta.it
Web site: http://www.nauta.it/taukay/
Gentile amico,
=E8 passato pi=F9 di un anno da quando =E8 stato aperto il =
nostro sito su
internet e da allora molte cose sono cambiate.
Una quantit=E0 sempre maggiore di persone si =E8 avvicinata a =
questo
formidabile mezzo di comunicazione che permette di azzerare le distanze =
e
ridurre i tempi editoriali.
Grazie a Internet =E8 possibile contattare e informare =
Compositori di
tutto il mondo per sviluppare nuove iniziative.
Durante l'anno passato si =E8 concretizzato il nostro ambizioso
progetto legato al Primo Concorso Nazionale di Musica Contemporanea =
"Citt=E0
di Udine".
LA Giuria, composta da giornalisti del settore e Compositori, =
ha
scelto sette Opere tra le oltre cento pervenute.
L'esecuzione in Prima Nazionale dei lavori selezionati si =E8 =
tenuta
in occasione della Rassegna "Contemporanea '96", organizzata in
collaborazione con l'Assessorato alla Cultura del Comune di Udine .
Il materiale registrato durante le serate =E8 stato inciso su =
compact
disc. (TauKay 103 - TauKay 104)
Nei progetti futuri c'=E8 la seconda edizione del Concorso,
l'ampliamento del catalogo con proposte di giovani compositori, un nuovo
settore relativo al teatro e ai suoi rapporti con la Musica e
l'approfondimento di nuovi temi attraverso saggistica specializzata.
Il nostro sito web rappresenta uno spazio in cui convogliare
energie creative, un luogo dove apparire per farsi conoscere.
Aspettiamo le tue idee per proseguire insieme la strada =
iniziata.
Il responsabile editoriale:Vittorio Vella
Posta elettronica: taukay@mailbox.nauta.it
sito web: http://www.nauta.it/taukay/
*****************************************************
Edizioni Musicali TauKay
TauKay Music Publishing House
via Fiume 13 - 33100 Udine - Italy
tel. +39-432-506677
fax +39-432-25021
taukay@mailbox.nauta.it
WEB site http://www.nauta.it/taukay/indice.htm
Responsabile editoriale/Editor: Vittorio Vella
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Date: Sat, 3 May 1997 12:54:32 -0700 (PDT)
From: Erez Webman
To: Csound list , bezkorom@ere.umontreal.ca
Subject: A strange side-effect (?)
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The following Csound code produces a tuned sound.
The pitch of the sound exclusively depends on KR (!!??)
However, this code doesn't contain any control-rate dependent
expressions...
The frequency of the generated pitch, by the way, is pretty
similar to the value of kr.
Does anybody have any explanation for this pretty strange effect?
My guess is that the butterbp filter implementation is
influenced by the control-rate somehow.
(This instrument works in the same way as the "loco flute"
instrument Bezkorowajny Mathieu sent to the list six month ago)
================ ORC FILE ===============================
sr = 44100
kr = 882 ; change this and the pitch will change...
ksmps = 50
nchnls = 1
instr 1
as1 init 29000
as1 butterlp 0.999*as1,10000
out as1
endin
================ SCO FILE ===============================
i1 0 10
=========================================================
Erez Webman
|